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The Old Way of Getting It Out: An Interview with Lucy Massie Phenix About You Got to Move

Introduction
Everyone brings their own personal baggage to the movies, and I don’t think I’m alone in treating them too readily as literature. Much of the vocabulary we apply to film comes from long-ago high school English classes. We assume that every detail is a puzzle piece that leads inexorably to a deliberate display of thematic unity and artistic expression. Analyze this film, we’re asked, and we begin to point out a camera movement like it’s an enjambment in a poem. We’re blessed with a bag of critical tools but we apply them as if every work is a self-contained thing that we can understand without leaving the house. Continue reading

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